My latest round of revising my fiction has felt somehow different from my previous encounters.
Well, I would include the round with What’s Left last fall, so maybe I can blame Cassia for my new experience. That novel, however, was always envisioned as a much less experimental work than my previous efforts.
The latest efforts have included deep cuts, including major sections I was quite fond of, and changing the tone. But these also meant creating page after page of new material, especially details to develop side characters more fully. Not just what they’re thinking, either, but rather what they’re feeling.
Much of my personal writing has functioned as an exercise to counter the dumbing-down editing required in the newspaper work that provided my income. You know, tone it down to what used to be seen as sixth-grade reading level.
Not just newspapers, either. I see too much pedestrian prose posing as literature and know language can have much more vitality and depth than that, thank you. Harry Potter, at least, has proven that many sixth-graders can read at much more advanced levels than they’re given credit for.
One thing, though. Five years after leaving the newsroom, I no longer feel that dumbing-down struggle as I write and revise, nor do I have to work my own writing into small blocks of time between everything else.
What I am surprised to see, though, is how much of the journalism influence was at work in the just-the-facts approach to my stories. I’ve seen much of my work – both poetry and fiction – as a kind of on-the-run graffiti, jazzlike, with an improvisatory tone and jagged edge. Daily journalism, for that matter, is typically done under deadline. Essentially, I saw the flow of clashing events as the core of the tale.
The biggest change in the recent revision has been the focus on the characters – and especially their feelings. Remember, in journalism, the only feelings would be through direct quotes. Anything else would be editorializing, not that you’d know in what passes for broadcast journalism on most American television stations these days.
Again, I’m going to credit my character Cassia for much of my shift. She’s having me examine that earlier work through her eyes as well as her voice.
In recasting her father’s backstory, for example, I’ve been continuing the present-tense emphasis as much as possible, with a more conversational tone than the conventional literary past-tense would carry. How would she feel about this or that development?
Oh, yes, one more thing. With her, it shouldn’t sound literary. She’s talking, remember?
The emotional element, though, has engulfed me. Engaging the characters on this level has consumed much of my time and thought, including my nights abed or my time on the treadmill or stationary bike during cardio therapy. It’s made for much slower going on my part as far as the revisions progressed. But it’s also led to a much more complete comprehension of the evolving story.
In the end, I’m hoping these move readers in ways the earlier ones didn’t.
